Tag: lines

Jason Lee is currently starring in the TNT’s “Memphis Beat”, which is begins season two starting June 14th. Prior to this Jason has worked on the TV series “My Name is Earl”. In film,. Jason is known for his roles in Kevin Smith’s films “Mallrats”, “Chasing Amy” and “Dogma”. He has also played Dave in the “Alvin in the Chipmunks” series, with its second sequel being released this Fall, “Alvin and the Chipmunks: Chip-Wrecked”. Movie Mikes had a chance to attend a conference call with Jason Lee to discuss the new season of “Memphis Beat” and what we can expect from it.

Mike Gencarelli: Do you find it difficult for you combining the comedy with the drama for this show?
Jason Lee: This season it’s easier because that was more of the direction we wanted to take this season because we felt that that was lacking a little bit last season in retrospect. I think with anything you do characters have to be believable, acceptable, likeable that’s always sort of my stance like even with a guy like Earl.  With just a massive list of wrongs you still like the guy, you know what I mean? I felt like we needed with “Memphis Beat” and have Dwight feel even more tangible real likeable, accessible, approachable and less of the character or a sort of a iconic thing that we were trying to have him be in the first season. Strangely, I thought a lot about Burt Reynolds back in the 70’s, that strong kind of jokes every man just that kind of humor from that and the camaraderie with like those movies like “Cannonball Run” and “Smokey and the Bandit”. I guess trying to incorporate that into this show and making it have more of that old school kind of Southern flair, that energy and you see more of that coming out and that’s balanced with the more dramatic stuff of I’ve seen them today these guys are cops and people are being murdered and no shit there’s a lot of stuff happening here. But I think it was a little to precious the first season.

MG: What would you consider is the most challenging part working on the show?
JL: I would have to say the lip-syncing and the performances. I try to be as genuine with those and make that feel as heartfelt as possible and make it look as good as I can. That’s sometimes a difficult thing learning those songs and…putting my heart into it and making it feel right. I want to do justice to that. Also always being conscious of walking that balance between reality and fiction and trying to keep it real and not cheesy or forced but as believable as possible.

Q: Well you’ve got a great show. Were you surprised how well the show went over last season?
A: I mean yes, I thought it was interesting enough as the start to something potentially better…and we’ve made it better this season in my opinion.  Sometimes you do something with one formula and then you look at it and you go, well you know what it didn’t quite feel what it – the way it should have felt and then so you reconvene you look at it all and you start fresh with the strengths from last season and then having sort of gotten rid of the weaknesses. I think the show is more fun this season Dwight is a little bit more identifiable he’s less of a character and more of just a guy. It’s less of a sacred kind of Elvis thing and more of just a Southern dude who loves music and he happens to be a musician and a performer. This season there’s less of country Elvis thing and more of just Dwight performing music. Certainly Elvis is his idol but you know what really kind of didn’t help in our favor at the beginning of the first season was that people have this ideal that the show is like cop by day Elvis impersonator by night and that kind of screwed us up a little bit. Because it was not that and then when we presented the show as something else it was difficult to work our way around that. Now we just sort of shed all of that and it’s just more about Dwight loving the South and being just a guy who loves everything from Elvis to Johnny Cash to Muddy Waters to probably Simon and (freakin’) Garfunkle.  He’s just a guy who loves music and he’s a performer. So it was really important this season that we made Dwight more of a just a dude and less of this kind of character or this icon or something. We just have a more fun kind of lighter, looser kind of old school cop show with more car chases and shoot outs and more more joking and having fun and more camaraderie among among us, there’s a gang. We needed to go through season one to see all this stuff and make this season more fun.

Q: Okay you were talking about a minute ago about Dwight and he’s one of the coolest cops in recent TV history. What you did to bring that cool swagger to this role?
A: Oh man, well it’s I think it was the boots, some of the wardrobe, the car, the music, the old guitars. It’s sort of like there’s a little bit of a modern day kind of cowboy vibe to the guy, which I think is really interesting. But that could get real cheesy real fast. So I just try to be aware of the importance of this guy’s job and making it as much about how much he cares as it is about how “cool” the guy might be and how fun it is to play this guy. It’s kind of walking a little bit more of a line between character and realities than we did I think last season. So I learned – we all sort of learned a lot from last season.

Q: All the music on this show is incredible. Can you talk a little bit about that the barrage of great songs that crop up throughout each episode?
A: Well that’s the beauty of the show it’s taken straight from the South.  It’s like you’re going to get those flavors of blues, R&B, Elvis.  It’s like the backdrop to the show because it takes place in Memphis and we all know how important music is to the Memphis to the South. So it’s like it’s kind of – it’s the character to the show just as much as Dwight’s car is.  We get away with a lot of stuff that I don’t think we’d get away with it if the show took place somewhere else because in the South your town is like you’re very prideful of it. There’s such a sense of camaraderie and community here because everybody shares everything and that’s very much a Southern thing I found. So with that comes a real sense of pride and Dwight carries that pride with him. There’s a pride of “hey we do things differently around here”, which I think is really cool.

Q: What is the City of Memphis think of Dwight in the show When you go to Memphis,even if it’s just to shoot exterior scenes, do they greet you like you’re a local hero?
A: It speaks volumes of about how awesome Memphians are.  The biggest disappointment that we’ve heard is Memphians saying that they have seen quite a bit of New Orleans in the show and saying that they totally understand that we really wanted to shoot in Memphis but they still embrace the show.  They understand that it’s a bunch of red tape sort of logistical kind of governmental tax incentive stuff all this stuff.  They’re usually kind to us. This season we have a fantastic production designer and she is very anal and we’ve tried even harder this season to make it even more authentic. Overall though the Memphians are they like the show. I’ve done press there locally in Memphis and and they say, “We like the show and we’re certainly happy that it has just the title Memphis in it and we understand why you can’t film here. It’s disappointing but we don’t hate the show” so of course that’s nice to hear.

Q: Have you ever been much of an armchair detective in real life? When it comes to crime dramas and mysteries do you watch them? Do you read them? And if so who are some of your favorites?
A: I’m a product of the 70’s.  My favorite stuff is like “Streets of San Francisco”, “Rockford Files”, “Dukes of Hazards”, “C.H.I.P.S”, you know what I mean? Like “Smokey and the Bandits”…that’s my vibe.  Something that I bought to the table for this season is like that we needed to make it feel a little bit more fun and action packed than kind of just old school like these other shows. We tried to do that season one but we didn’t quite nail it. I feel like that energy that you see on shows like “Rockford Files”. Just that fun camaraderie and that’s just like energy…just the style of it.  I feel like we’ve tapped into that more because to me it’s just cool aesthetic and it fits this Southern Dwight thing…the old car that he drives, the music, the energy.  There’s more laughs this season. It’s a little lighter and it feels a little bit more just down home.

Q: What do you think of Sam Hennings as an actor and as a person?
A: Oh Sam is amazing he has really found his thing this season even more so I think. Just because overall the energy has shifted and there’s more room to have fun and just be real and not be so serious all the time. Quite a few scenes this season, I’m not in this time around because we’ve tried to balance out the work load.  We are trying to put more focus on the other characters.  Sam’s had some great story lines so far and he’s really gotten the shine. He’s a great fit for this show. He’s from Macon, Georgia and he’s just like he’s an old school.  He’s the perfect old school kind of cross city cop.

Q: Last season ended on kind of an emotional cliffhanger with Dwight finding out that his dad might have been a dirty cop. Is that storyline going to be followed up at all?
A: Yes sir we’ve already filmed that episode.

Q: Does your schedule allow you to do any films on your hiatus?
A: Yes I really want to get back into doing some film work.  Hopefully this year later this fall. I miss that, I miss it and I’m really looking to find something that I can do for this year.

Kevin McDonald is one of the members of the cult favorite comedy troupe “The Kids in the Hall”.  Kevin is by far the most energetic member of the members.  Movie Mikes took a chance to chat with Kevin about working with the troupe and the new mini-series “Death Comes to Town”.

Mike Gencarelli: Did you have a favorite character that you played in the original “The Kids in the Hall”?
Kevin McDonald: During the sketch show, my favorite character would be the King of Empty Promises. I only did it twice during the series because we never did the same characters a lot…besides the head crusher and the chicken lady. We never did the photocopier guy every Saturday. King of Empty Promises is the guy that promises things and says “Will do” and “Slipped my mind”. I am sort of like that, “Yeah you want that…Yeah I’ll get that for you”. I always forget and never do anything. My writing partner in the show Norm (Hiscock) said you have that evil trait and he said that it should be a sketch. So we wrote it up. Instead of me playing myself again, we decided I would do it like Paul Bellini, Scott (Thompson)’s writing partner. I am lousy at doing impressions but me doing Bellini’s impression is what became of the character in ‘Empty Promises’ sketch.

MG: “Kids in the Hall: Brain Candy” was one of my favorites of the 90’s, are you a fan?
KM: I am a fan of it. I am a little disappointed with the end with came up with. We tried hard and actually had a original ending that we shot but it didn’t seem to work with audiences. It probably would have been the right way to go but not in the terms of audiences. Once we got a little more money, we re-shot the ending as a little more mainstream and it would have been better but then took away half the money. So instead of it being eight scenes, it was four scenes and some of the details were lost. Monty Python is so smart. With their first movie it was a gag fest and an excuse for sketches in the “Holy Grail”. I guess we were ambitious, good for us, we jumped right into a real movie. It probably would have taken us two or three movies to get it right. Also learning to write together in the same room is hard. We have been writing sketches like two or three at a time and all six of us were in this board room writing and it was really hard.

MG: Would you consider that the bad time for the group?
KM: The group has had a series of downfalls and up falls [laughs], like any group of creative people. There is always creative differences and arguments. When it works it makes the work better and when it doesn’t work it cripples the works for a bit. When we were a club act before our TV show, we had an argument about what kind of comedy we should do and that was resolve by just doing it over and over. During the TV show, three of us did not like the producer in charge and two of us like him. That was horrible fight we always forget about. “Brain Candy” arguments are more in our mind now but that was a really horrible one which almost split up the group. What saved us originally is that we were canceled after the first season but luckily they changed their mind and then we ended up firing the producer. But “Brain Candy” was just hard for so many reasons Dave (Foley) was becoming a TV star with “Newsradio”. Scott and I had deaths in our family. It was so ambitious…not like “Ben Hur” or “Avatar”…but it was ambitious in the way we were trying to tell a story. I think the story took over the comedy and that divided the group. Dave actually quit right before we started shooting “Brain Candy” and then was still forced to do the movie since he already signed the contract. That part was horribly tense, especially because him and I are like best friends. The movie didn’t do well but in the meantime our show was showing on repeats and that is where we really got our audience. We stopped filming the show in 1995 but from 1996-2000, Comedy Central was repeating our show to death. We were talking in a reunion tour and that is why the troupe is still a troupe. I don’t think we will every split up until the first one of dies and my money is on Dave [laughs].

MG: Tell us about the groups return to TV with “The Kids in the Hall: Death Comes to Town”?
KM: Before that we had the 2008 tour, which was a unique tour from our other tours since it was new material. Between 2006 and 2008, we did some shows at the Steve Allen Theater and we worked out some pretty good material. It was really exciting for us not doing the greatest hits like we had, but to do all new stuff. Led by Bruce (McCulloch), he had an idea for a movie called “Death Comes to Town”. I worked on it with him during the tour. It was so exciting that the new material was going over so well and we wanted to keep writing new stuff. We thought if we got a new TV show our tour, we will sell out every night. It sort of grew and grew and became a mini-series. We always thought mini-series, we never wanted to do a lot of seasons. The writing process was different again with Bruce in charge and I helped out with the writing, instead of all five of us. Then we all met up a couple of times in Toronto with the other three. I think the good thing about that we that we got it done quickly and easily. The bad thing was that I think we missed a lot of the troupes flavor.

MG: What else do you have planned for the future? Any more tours?
KM: The group is trying to get another tour together but it is really hard. We started planning for the Spring, now that isn’t going to happen. So maybe in the Fall now. Like the past year, I am just concentrated on coming to Winnipeg and become a good boyfriend and father figure to my girlfriends two children. But I am writing another pilot with now, which I was hired to write called “Homeland Insecurity”. I just did a TV show, which is 4-minute episode which will be online with plans for a 30 minute format later this year, it is called “Papillon”. It has nothing to do with the Steve McQueen movie but that is what it is called.

Tracey Walter is one of the great character actors of our time. He has been in filming ranging from 1989’s “Batman” to “Conan the Destroyer” to last year remake of “I Spit on Your Grave”. He is has worked with some amazing actors such as Danny DeVito, Jack Nicholson, Arnold Schwarzenegger and Steve McQueen. Movie Mikes had a chance to chat with Tracey about his films and what he is working on currently.

Mike Gencarelli: How was it working on the remake of “I Spit on Your Grave”?
Tracey Walter: One of the unique things about the film was…although auditions are nice the drawback with auditions is that you might not get the part…what’s better is when they call your agent and say “I want to offer Tracey the part,” which they did. When I first got involved with the film it was called “Day of the Woman.” I was not familiar with the original “I Spit on Your Grave” movie. But I got a call from my agent who said “they’ve offered you a role in this film and they’ll be sending over a script tonight.” That happens all of the time in the movie business. Not just to a “Tracey Walter” – type actor but even to a “Brad Pitt” – type. I just finished a movie…a beautiful movie called “Savannah.” That happens to actors like Jim Caviezel. You’ll get a call and they want to start shooting tomorrow….I’m going to answer your question, I promise (laughs). And that also happens on “A” type films. On “I Spit on Your Grave” I got a call. They wanted to know if I was interested in playing the role. It was really the only character, other than the sheriff’s wife, that was not a really brutal and sadistic character. In fact what lead to his death was his concern for the woman. He calls the sheriff and the sheriff come by, takes him out to the woods with a bottle of whiskey and then blows his brains out. My character was the only decent character in the picture. I’ve been acting for 40 years and I always think I’ve seen it all. But this film was a new one because not only had I not met the director prior to filming, I didn’t even know his name when I showed up on the set (NOTE: his name is Steven Monroe). That was unique. The actors in that picture were really talented and it’s always interesting to work with actors who are not big names. You haven’t seen them before and it makes you realize how many good actors there are out there. If you saw the movie you know what Sarah Butler went through on that movie. No complaints. Same with the actor who played the Sheriff (Andrew Howard). I thought “he’s got a great southern accent.” At the end of the day we finish work, get in the car and drive to the hotel. And I realize he’s English! He pulled off a “Hugh Laurie” to some extent! Whether it’s a film or a TV show, how I get hired has a slight influence on my taking the job. Did they make it a three act play? Was there someone else they wanted to hire? Or, as in this case, did they call and make an offer? They were very respectful. With the conditions while filming and being with the other actors it became really a great experience. And I hope that set experience
does good things for Steve Monroe’s career.

MG: Are you generally a fan of the horror genre?
TW: Not only am I a fan but…Danny DeVito has for the past two years had a web site where he does tributes. The name of the website is www.thebloodfactory.com. And he has created really bloody and over the top tributes to the horror genre’. I did a couple of them. They’re about four minutes long and usually shoot in one day. One had me as a psychiatrist married to Carol Kane. She decides I’m no longer listening to her so she decides to shave my ears off! A real bloody mess. Another one I did I played a doctor who gets revenge on another doctor who has done some botched abortions in the past. That’s also bloody as you can imagine. We just finished another one. DeVito directs them. I haven’t done a lot of horror. I did do some episodes of “Freddie’s Nightmares.” But I love the genre.

MG: How did you get involved with the TV series “Monsters?”
TW: There’s really not a big story behind that. They made the traditional call to the agent and they offered me a part. I’ve still got a great 8×10 photo of me transforming into the monster.

MG: How long did the make up process take for that part?
TW: About two hours.

MG: What was it like to work with Jack Nicholson on 1989’s “Batman”?
TW: I met Jack in the summer of 1977. He directed and starred in a movie called “Goin’ South.” He played a character named Henry Moon and I was a part of the ex-Moon gang. He get’s sentenced to marry Mary Steenbergen and we (the ex-gang) try to get him to come back to the old ways. So I’ve known Jack since 1977. It was great shooting “Batman.” We shot in London. I’ve done two films in London. “Batman” and another one that was based on a book by Larry McMurtry called “Buffalo Girls” with Angelica Huston and Jack Palance. Jack (Palance) also worked on “Batman” but we didn’t have any scenes together. And we also appeared in “Cyborg 2,” though again we had no scenes. I’ve worked with Jack on four pictures, the fourth one being “City Slickers.” He played the sandpaper-faced cowboy and I was “Cookie,” the authentic western cook. The “Batman” experience, on a scale of 1-10 was about a 12! Tim Burton was fantastic to work for. I haven’t worked with him since but I’m surely not ruling it out (laughs). The entire film was a great experience for me. They even made an action figure of me. I’ve really been blessed. As humbly as I can put it, I’ve really been blessed with terrific success in films.

MG: Tell us about working with Arnold Schwarzenegger in “Conan the Destroyer”?
TW: That was an incident where I replaced another actor to play Malak. It was the classic call. My agent called me and asked “can you be on a plane to Mexico TONIGHT?” I was single at the time…no dogs or cats…so I was able to pack a duffle bag, get in the car they sent for me and head to Mexico. That’s how it happens some times. You can imagine how great it was working with Schwarzenegger. We’ve remained friends since. That’s the kind of genre’ that an actor likes to try at least once. Plus I’m a big basketball fan and Wilt Chamberlain, who was in the film, loved to talk. He wasn’t the type of guy who, because he was a basketball star and basketball was his big claim to fame, didn’t want to talk about it. I was reading a book called “Giant Steps” by Kareem Abdul Jabbar and I showed Wilt some photos that he was in. He could tell me, just from looking at the photos, what was happening…where the game had taken place. You know, even with the Internet, there are places that stars can go and not be recognized. Even Schwarzenegger…there are probably places in the world where no one would know who he is. But there was no where on the face of the earth where you could go and not have Wilt Chamberlain turn heads. He was just your average 7’2 millionaire that lived next door! It was a dream come
true for me to do that picture.

MG: Which projects really stick out as most challenging among the ones that you have worked on to date?
TW: Again, humbly, there have been many. “Batman” and “Goin’ South” with Jack Nicholson….”The Two Jakes,” which was a sequel to “Chinatown” that Nicholson directed. “Erin Brockovich” was another great film. Steven Soderberg is another great director. Edward Lachman (the film’s cinematographer) made me look good in that one. Another favorite is a western television series I did called “Best of the West.” I was in “At Close Range” with Sean Penn, Christopher Walken and a talented group of character actors. It’s hard to say what’s challenging. A smart man once said “if you like what you do you’ll never have to work a day in your life.” Again, I’ve been very blessed. This last project I was involved in…”Savannah” with Jim Caviezel…has a wonderful director named Annette Haywood-Carter. She did a real rarity. When I got hired she called me at home to say “welcome aboard.” That’s beyond nice! Directors don’t usually call Tracey Walter – like character actors who appear in the middle of the film. When someone does that you’re ready to not only jump through hoops for them but make a complete fool of yourself. Another film that was a treat to work on was “Raggedy Man” with Sissy Spacek. I also appeared with Steve McQueen in his last film, “The Hunter.” Steve Monroe is a huge fan of McQueen so when I showed up for work that was the first thing he wanted to talk about. “How was he?” “Did he look good?” He died right after making the film but he looked fantastic. I was shocked that he passed away so quickly.

MG: Besides “Savannah,” what other projects do you have coming up?
TW: I just did something with director William Dear. I started working with him in 1981 on the movie “Timerider: The Adventure of Lyle Swann.” It was a sci-fi western. We filmed in Santa Fe, New Mexico. We’ve worked together several times since then. He just took over a picture called “Love Obama: The Election of Barack Obama.” It’s a humorous look at the campaign…especially campaign headquarters. I play an aging hippie…it’s really a dream come true.

Matthew Senreich & Zeb Wells are the co-creator and writers of “Robot Chicken” (respectively).  Matt created the show with Seth Green back in 2005 and has since been writing for the show.  Zeb joined the show for season three and since then has been writing for the show as well.  Movie Mikes had a chance to chat with Matt & Zeb at the 2011 MegaCon in Orlando, FL and had a chance to chat about the show and get some cool stories from the guys.

Mike Gencarelli: Matt, in the beginning for the series you directed a bunch of episodes, why did you stop?
Matthew Senreich: [laughs] It was a lot of work.  We realized very quickly to write, direct and produce all aspects of the show was self-destructive. We ended up in our third season bringing Chris McKay on board to direct, so that way he could focus on making it look pretty on screen at all possible times.

MG: Zeb, you joined the show beginning in season three, how did you that come to be and what was your biggest challenge coming in?
Zeb Wells: Well it came to be because Matt used to work at Wizard magazine.  They used to have a video making contest there and I won that contest a bunch of times with making superhero parody videos.  So he brought me in to do a test drive on season three…
MS: To see if he was still funny [laughs].
ZW: [laughs] Yeah.  I think the biggest challenge was your first day you come in and have all these questions you used to have about your toys.  “What if G.I. Joe’s did this?” and so on… At the end of the first day you used up all of those and have to keep coming up with ideas every day one after another. It gets hard. After my first five week cycle, I realized these guys were going to go back and start again next week and I have no idea how anyone could do that.  There is always another idea.
MS: [laughs] There is always something.

MG: What is the timeline for an episode of “Robot Chicken” from idea to finished product?
MS: Oh my God, I always like to use “Star Wars” as an example because it is kind of self-contained. It is usually two to three weeks of writing for a half hour episode.  From start to finish it is like fourteen weeks.  You go from writing it…to doing the storyboards and voices at sametime…and then putting together what is called an animatic…from the animatic it is handed over to animation…through animation to post production…and then sound…and visual effects.  It is a wirlwind process.

MG: Is there an episode or skit that stands out as your favorite?
MS: Everyone always asks that question [laughs].  It is like choosing your baby. I mean it depends on the day and what your feeling on what sketch you like.  If someone says a sketch that you remember and your like “Oh yeah, I love that one”.
ZW: I do like Fumbles.  I think it is my favorite.
MS: [speaking to Zeb] Of all time?…All time?
ZW: I don’t know it has a lot of good lines in it [Laughs]. I might be but yeah on a different day it might be another one.
MS: It always shifts for me.

MG: Matt, how do you feel that the show has changed since it started over 5 years ago?
MS: I think it has gotten a lot better.  when we first started it was just us not knowing what we were doing.  As we got into this fifth season, the production value is really higher. The writing is as sharp as ever. For the first season, I don’t think we realized that it was going to go further that one season.  But now we look at it as we are a family that is just goofing around and having fun.

MG: Did you ever think you had an Emmy winning show on your hands?
MS: [laughs] Yeah it is crazy! It is still weird that we won an Emmy, it has been a crazy year!

MG: Do you have any notable rejected ideas that never made it?
MS: I think there is a lot of stuff that we reject. I always say 99% of what is pitched in the room probably falls by the waist side.  It is a brutal writers room.  People hate each other in that writers room [laughs].
ZW: My favorite sketch that didn’t get in is a Zune getting hit by the Allspark…realizing it is a Zune and then shooting itself in its head.  I tried to get in a few times.
MS: [speaking to Zeb] You are pitching that sketch left and right.
ZW: I got to get it in there [laughs].

MG: Zeb, besides Robot Chicken, you also work/have worked on various comic books, how do you find it differs for you?
ZW: Writing comics is such a soliterary experience, which has its pros and cons. You are more in control of what goes in, but you are also able to get hung up on certain things. But when you are in a room with a bunch of dudes, if you get stuck on something you can all just attack it together.

MG: Do you find that the writing for “Robot Chicken- Star Wars” differs from the TV series?
MS: It is a little more focused which I like better.  You can tell a little more of story and get more into character development. I always find that more interesting to do rather than just being more sketch based. As far as process goes it is just working with the people you like and that is what I love.
ZW: Everytime a “Star Wars” starts I think it is going to be easier. Then I think by the end of the “Star Wars” the regular “Robot Chicken” will be easier”.  It is all hard. [laughs]

MG: When can we expect the next installment of “Robot Chicken- Star Wars”?
MS: We are working on the DVD for “Star Wars: Epsiode III” right now and then after that still to be determined.

MG: What can you tell us about the new episodes set to air in October?
MS: Yes, it is the last ten episodes from season five.  We are going to go have episode 100, so it is going to be epic. So the chicken will be loose [laughs].

If you don’t recognize the name Don Drakulich, you might know him better as Sleazy P. Martini, the leisure suit wearing manager of GWAR. Not only is Don one of the founding members of the horror themed rock group, but Don also is a special effects artist and owns his own special effects production company, Hyper Real Productions. Moviemikes.com recently had the chance to speak with Don about his career in the effects business as well as his time with GWAR.

Click here to purchase GWAR’s music

Adam Lawton: What made you want to get involved in the FX business?
Don Drakulich: I had always been playing around with stuff.  My dad had bought me a super 8 camera when I was in high school.  Like a lot of kids from the 70’s, I had been wowed by “Star Wars”.  So in my mind I wanted to do the same sort of thing. My friends and I would take models and black backgrounds with pin holes for stars in them and try and duplicate the things from “Star Wars.” After high school, I went to college to originally double major in film and illustration.  But when I got there I found illustration wasn’t what I had expected, and there was no actual proper film degree. They had film classes, but not an actual program. I ended up following through with painting and print making and gave up the idea of being Frank Frizetta. It wasn’t until after my first year out of school that I started hanging out at the dairy which was a spot in Richmond, Virginia where everyone would come together and hang out. That’s when I got back into the FX sort of stuff. It was kind of a return for me to my early interests and from there it was pretty much all self-taught.

AL: Was this around the same time that you met up with Dave Brockie?
DD: Yeah it was about 1985/86 that I started hanging around those guys, and we started doing FX stuff. We didn’t have money at the time to do effects the way they are normally done, so we figured out a bunch of low budget ways to do things. We were using things like cloth re-enforced with glue, which was how we made some of the early costumes. Within about a year we were dabbling in latex, but we were along ways a way from being Rick Baker.

AL: How did you guys come up with what GWAR was going to be?
DD: Initially the GWAR costumes were going to be for a low budget movie that Hunter Jackson wanted to make called “Scum Dogs of the Universe.” Hunter approached Dave about using some of his band Death Piggy’s music in the movie, and Dave saw the costumes and said why don’t you let us open a show or perform in the costumes.  Hunter did and the whole thing snowballed from there. The idea started to run away from Hunter at that time, and it began to be more about the band than the movie.

AL: Did the movie ever get made?
DD: No, not even close. There were aspects of the movie that were eventually shot for shorts but the epic which he had planned which was set to take place on a space ship that gets attacked by space pirates never got off the ground. The closest thing to it would probably be the video for “Cardinal Sin” as it kind of has some of the elements that were going to be for the film. The basic idea was “Road Warrior” in space. That’s kind of how the whole GWAR thing started out. We were heavily inspired by “Road Warriors.”

AL: In GWAR’s first movie “Phallus in Wonderland” aside from your role as Sleazy P. Martini, did you have a hand in any of the production?
DD: I did some of the editing, as well as being the special FX coordinator for the movie. I went out and basically put together the crew that was actually going to do the film. I linked up with Blaire Dobson after meeting him at a show in Canada.  We decided to use his production crew. Unfortunately Blaire was let go about mid way through the process, however some of his crew stayed on to finish.  I guess you could say I was Executive Producer even though I didn’t pull the money strings. I did put together the crew that made that film happen.

AL: Your character, Sleazy P. Martini, made his first appearance as this time correct?
DD: No, it actually started right at the very beginning. Originally, we had two Martini type characters/managers, and after a show or two, we decided to try myself out as the character. I then took the characters and evolved them both into one greasy 70’s Elvis type leisure suit wearing pimp.

AL: You toured with the band in 2008 which was your first time since 1996 correct?
DD: Yep I hadn’t done much touring since 1996. I did a three week stint in 2000 w/ the Misfits which was loads of fun, but I have been staying away from touring since then.

AL: Any particular reason?
DD: As an artist you find it very frustrating. You need to create new things and doing new stuff, and when you are on the road, you are at a kind of always doing the same thing night after night. I had also gotten married at the time.  But personally it was dislike of being on the road. People are always asking me why I walked away.

AL: Recently the Sleazy character did make an appearance on Jimmy Fallon recently, correct?
DD: Yeah that was me. I got to be a face in the crowd. That was interesting.  They always make jokes about how cheap the late night sets are, and not until you get there do you realize they really are cheap (laughs). The production is very small as well as the audience. This was, I think, the first time GWAR had ever performed properly on National TV.

AL: Can you tell us what you have going on lately?
DD: Right now my main efforts are going towards putting together a documentary about the very early years of GWAR. It’s being produced by me and Bob Gorman. Right now I am going through the reams of footage I have. I am kind of looking at it as finding a needle in a hay stack, but the entire haystack is full of needles.  So it’s hard to pick a spot to start. There is about 24-25 hours of interview footage alone, as well as a lot of old performance footage and pictures. I want to show the inception of GWAR when the band first started out at the Richmond Dairy. But overall, what I really would love to do is an FX based project, so put the word out.

Go to Hyperealproductions.com to check out photos of some of Don’s work and to purchase limited edition GWAR sculptures and DVD’s

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